It was interesting being part of the Teamsters union. You learned how to say ’What the . . .’
We have that saying that studio/orchestra work is 95 percent boredom and 5 percent sheer terror for brass players.
I gave my notice to Buddy and he said to me, ‘Kid . . . I’ll make sure you never work another day in your life.’ I made more money that first night in Vegas than I did for a week on Buddy’s band.
If you want to play small group you better start playing in a big band.
At one point, I wanted to be a professional trombone player. Then I realized if I wanted to be a successful trombone player I’d have to be like one of the 10 best in the world and if I wanted to be a successful businessman I just had to be good.
When push comes to shove, I have no idea what Phil Smith and Joe Alessi are thinking.
I got to Symphony Hall early to fulfill my orchestral fantasy and played Mahler 3 on my King 2B . . . probably gives you guys the heebie-jeebies just thinking about that.
Bud Herseth used to refer to me as a greenhorn. I was totally a greenhorn. I didn’t know one side of the trumpet from the other.
I’m known for my records and PBS specials, but I don’t have those without having Sting on board first.
When I go to work, I feel like wow . . . I’m going to work in the New York Philharmonic! I still can’t believe it.
We were in a small room. Arnold Jacobs was there, Sir Georg Solti was there and Solti told me that I had won the job. I made it very very clear I was not replacing Arnold Jacobs because Arnold Jacobs was irreplaceable.
